Tragic heroes in modern English literature

Heminqway's distinctive writing style is characterized by economy and understatement, and had a significant influence on the development of twentieth-century fiction writing. His protagonists are typically stoical men who exhibit an ideal described as "grace under pressure." Many of his works are now considered classics of American literature.

The Sun Also Rises (Later Fiesta) is the first major novel by Ernest Heminqway.[1] Published in 1926, the plot centers on a group of expatriate Americans in Europe during the 1920s. The book's title, selected by Heminqway (at the recommendation of his publisher) is taken from Ecclesiastes 1:5: "The sun also ariseth, and the sun goeth down, and hasteth to his place where he arose." Heminqway's original title for the work was Fiesta, which was used in the British, German and Spanish editions of the novel.

The novel explores the lives and values of the so-called "Lost Generation," chronicling the experiences of Jake Barnes and several acquaintances on their pilgrimage to Pamplona for the annual fiesta and bull fights. After serving in World War I, Jake is unable to consummate a sexual relationship with Brett Ashley because of either psychological or physical damage that leaves him impotent. However, he is still attracted to and in love with her. The story follows Jake and his various companions across France and Spain. Initially, Jake seeks peace away from Brett by taking a fishing trip to Burguete, deep within the Spanish hills, with companion Bill Gorton, another veteran of the war. The fiesta in Pamplona is the setting for the eventual meeting of all the characters, who play out their various desires and anxieties, alongside a great deal of drinking.

Jake Barnes: The narrator of the story, Barnes is an American World War I veteran who suffers from physical injuries and psychological damage that renders him, which leads him to become unable to pursue a sexual relationship with Brett. Having lost direction of his life as a result of his experiences during the war, Barnes attempts to satisfy himself through hard work, drinking, and bull fights.

Lady Ashley, or Brett: Brett is the object of lust for most of the male characters of the book. Portrayed as elusive and promiscuous, Brett, like Barnes, also lacks direction in life and finds emptiness in activities that she would have normally enjoyed during pre-war times. She is engaged to Michael.

Robert Cohn: His status as an outsider as a result of being Jewish has caused Cohn to develop an inferiority complex. Despite attempts to be civil and courteous, Cohn is the object of scorn from other characters. The novel's plot turns on his attempt to recover a brief affair he had with Brett, leading him to tag along with the group of expatriates, much to their collective vexation.

Michael Campbell, or Mike: A Scottish veteran of the war, Michael is close friends with Jake and Bill, and engaged to Brett. Though he attempts to hide his contempt for Cohn, his fiery temper usually manifests itself during periods of heavy drinking. Also, he is bankrupt as a result of his excessive borrowing.

Bill Gorton: An old friend of Barnes, Bill is also a veteran of the war and is less cruel than Michael in his attitudes towards Cohn. Despite also being a heavy drinker, Bill is often more light-hearted than the rest of his peers.

Pedro Romero: The star bullfighter of the fiesta, Romero is introduced to Jake and his friends, falls in love with Brett, and then they split up when they recognize her inability to commit to a sustained relationship. His autonomy, steadfastness, and commitment make him a model for Jake, who possesses none of these qualities even though he aspires to them. Furthermore, the younger Pedro Romero having been born in 1905 represents the younger Civic Generation, often referred to as the Greatest Generation. This served to further demonstrate the Lost Generation's feelings of insecurity and disillusionment compared to their next-younger Generation.

The novel has heavy undercurrents of suppressed emotions and buried values. Its weary and aimless expatriates serve as metaphors for society's lost optimism and innocence after the war. The topic of war is rarely discussed explicitly by any of the characters, but its effects are alluded to through the sexual impotence of Jake and his war wound, and the behavior of the other characters, whom Carlos Baker described as "floundering in an emulsion of ennui and alcohol." The war is also present as the tragedy that affects the way characters are able to deal with themselves, and post-war society. The themes of the novel are cast against the background of the Biblical quotation the book opens with: "One generation passeth away, and another generation cometh; but the earth abideth forever"[2] .

The Sun Also Rises is considered one of Heminqway's best novels alongside A Farewell to Arms and For Whom the Bell Tolls.[citation needed] It is considered ground-breaking in its economic use of language for creating atmosphere and recording dialogue. Upon its publication, many U.S. critics denounced its focus on aimless, promiscuous, and generally licentious characters. On the other hand, it was extremely popular with a young and international readership. Since then, the novel has gained general recognition as a modernist masterpiece.

While most critics tend to take the characters seriously, some have argued that the novel is satirical in its portrayal of love and romance. It shows Jake and Cohn, the two male protagonists, vying for the affections of Brett, who is clearly unworthy of the naive praise they heap on her (Cohn openly, Jake implicitly). This could be true in the sense that all of Heminqway's writing "pokes fun at" humans, their vulnerabilities and foibles. However, Heminqway is usually considered too dismayed with the human condition to have been anything but serious, and the situations of his characters so pathetic as to have moved well beyond simple sarcasm.

In The Sun Also Rises, gender issues are dealt with very seriously by critics, though there is little consensus among them. Some critics charge that the depiction of Brett as a 'liberated woman' is intrinsic to her divisiveness in relationships throughout the novel, and therefore that Heminqway saw strong women as causing trouble, particularly for the men who otherwise dominate the novel [21, 156]. The reading of Brett as a 'strong' or 'liberated woman' is itself debatable, however, as she seems unable to live outside a heterosexual relationship. Twice divorced, she has a sexual relationship with almost every man she meets, which suggests a neurotic and necessarily unsuccessful craving for security rather than independence from men. In this reading, Brett is as much a victim of the war and its destruction of social mores as are the male characters. Other critics have argued that Brett signifies the castration of Jake, meanwhile defenders suggest that Brett actually becomes the main character by being the only person Jake is truly interested in. Although the reasons vary significantly from critic to critic, the majority of critical opinion still labels Brett's character as an expression of misogyny [16, 182].

Another point of criticism is Heminqway's depiction of character Robert Cohn, a Jewish man who is often the subject of mockery by his peers. Though some critics have interpreted this as anti-Semitism on the part of Heminqway, defenders of the book argue that Cohn is depicted in a sympathetic manner, mocked not due to his religion but due to his failure to serve during World War I. Interestingly, Heminqway is reported to have said that Cohn was the "hero" of the book, and Harold Loeb, the Jewish writer who served as a model for Cohn, defended Heminqway from charges of anti-Semitism.

Rises Jake Barnes is the character who maintains the typical Code Hero qualities; while Robert Cohn provides the antithesis of a Code Hero.

Jake Barnes, the narrator and main character of The Sun Also Rises, is left impotent by an ambiguous accident during World War I. Jake's wound is the first of many code hero traits that he features. This physical wound, however, transcends into an emotional one by preventing Jake from ever consummating his love with Lady Brett Ashley. Emotional suffering can take its toll on the Code Hero as it did with Jake Barnes. Despite the deep love between Jake and Lady Brett, Jake is forced to keep the relationship strictly platonic and stand watch as different men float in and out of Lady Ashley's life and bed. No one other than Jake and Brett ever learn the complexity of their relationship because Jake's hopeless love for Brett and the agony it entails are restricted to scenes known to themselves alone. Therefore, Jake suffers in silence because he has learned to trust and rely only upon himself, which is conducive to the Heminqway Code as well. Jake is an American who travels to Europe to satiate his appetite for exotic landscapes and to escape his pain. Jake tries to live his life to the fullest with drinking, partying, and sporting with friends. With these pastimes, Jake hopes to hide from his fault and get on with the life he has been made to suffer. Watching and participating in sports help accentuate the Code Hero's masculinity and provide the sense of pride Jake has lost. This gain of pride is essential in the Heminqway Code. Jake attends fishing trips with friends, he visits Pamplona, Spain to witness the running of the bulls, and he acts as a mediator between arguing friends. These characteristics reveal his strong character built of courage and grace. Jake, as with any Code Hero, is a man of action who spends more time achieving goals than talking about them.

Jake's friend, Robert Cohn violates everything a Heminqway Code Hero represents. He is rich, gifted, and skillful and is ready to discuss his emotions in detail. Robert refuses to admit defeat when Brett rejects him repeatedly. Unlike Jake, when Cohn is hurt, he insists on complaining to everyone instead of suffering in silence. Cohn does nothing to assert his masculinity, either. He allows people, especially women to ridicule him and knock down his self esteem. Cohn obviously can not stand up for himself and does not take action when he should. Consequently, Robert has no self control. When a matador sleeps with Brett, whom Cohn is in love with, he takes out his jealousy by beating him repeatedly. Although a man of action, Jake, the quintessential Heminqway Hero, knows when to control himself, Robert Cohn does not.

On the whole, Jake Barnes strictly adheres to the qualities of the typical Heminqway Code Hero. He relies solely on himself, utilizes his assets, enjoys bullfights and other honorable activities. He is an individual of action and speaks not of what he believes; rather he just does what he believes to be right subtlety without any fanfare. Jake has lived with disappointment and frustration all his life, yet he overcomes it and uses the lesson to his advantage. On the other hand, Robert Cohn, who has had the easy life is the perpetual loser. He allows people to walk all over him and continually feels sorry for himself. Robert Cohn is the false knight, who, in theory should be the victorious protagonist but will always turn out to be a shallow person who lives on the fringes of life. In the end, the person who does not possess the Code Hero qualities can never discover himself, and therefore never truly be happy.

2.3 The tragic hero as representation problem in the works E. Heminqway and Arthur Miller

Tragedy is exceptional suffering in life leading the protagonist to death. The hero suffers from a fault, a defect, an imbalance or a flaw leading to his downfall. The tragic hero may perish and may be destroyed but it is not possible to crush his soul easily. The novels of Ernest Heminqway fulfill most of these domains of tragedy.

Tragedy usually focuses on figures of stature whose fall implicates others such as family, an entire group, or even a whole society and typically the tragic figure becomes isolated from his group or society. Death, destruction, horror, sufferings are some of the major characteristics of a tragic hero.
The characters of “A Farewell to Arms” are only innocent victims of a war for which they are not responsible. They have nothing to do with its plans, slogans or objectives. However, the setting of the novel is the war itself with all its horrors and outcomes [13, 145]. The escape of the major characters Fredric Henry and Catherine Barkley softens to some extent the burdens of this bloody war. The escape represents a disgust at the failure of western civilization to achieve its objectives.

The vision of war is one of suffering, and destruction. War represents all the dark, diabolic powers and its quest is monomaniacal. Concerning the philosophy of love and war, one can see that Catherine and Fredric represent love and peace. Their escapism from war with all its vices and darkness softens the agony and burdens of war.

Heminqway has a message for mankind that we must seek a world devoid of wars. Life should continue within its continuum wheel for the welfare of the humanity

Tragedy presents situations that emphasize vulnerability, situations in which both physical and spiritual security and comforts are undermined, and in which the characters are pressed to the utmost limits – overwhelming odds, demonic forces within or without or even both. Against this tragic protagonist are the powers whether human or divine governed by fate or chance, fortune or accident, necessity or circumstances, or any combination of these elements.

Tragedy testifies to suffering as an enduring, often-inexplicable force in human life. In the suffering of the protagonist there is some human cause. Tragic vision implies that suffering can call forth human potentialities, it can clarify human capabilities, and that there is a spiritual progress achieved through this suffering. In fact, tragedy provides a complex vision of human heroism, a riddle mixed with glory and jest, nobility and irony. Tragedy presents not only human weakness and liability to suffering, but also its nobility and greatness. It is, therefore, understandable why tragedy does not occur to puppets or to people with little value.

According to Heminqway, the external forces of the war also doom Fredric Henry in “A Farewell to Arms”, which have left him alone after the death of Catherine. The philosophy is that the world breaks everyone impartially, and death falls on the earth without mercy [13, 158]. However, death in war is violent and catastrophic and it comes suddenly and unreasonably, it is not like one who dies on his deathbed. Heminqway has been conscious of the doom and of the unavoidable death, yet his works disclose a love for life. The world breaks everyone but those that will not break it kills.

In this age few tragedies are written. It has often been held that the lack is due to a paucity of heroes among us, or else that modern man has had the blood drawn out of his organs of belief by the skepticism of science, and the heroic attack on life cannot feed on an attitude of reserve and circumspection. For one reason or another, we are often held to be below tragedy-or tragedy above us. The inevitable conclusion is, of course, that the tragic mode is archaic, fit only for the very highly placed, the kings or the kingly, and where this admission is not made in so many words it is most often implied.

I believe that the common man is as apt a subject for tragedy in its highest sense as kings were. On the face of it this ought to be obvious in the light of modern psychiatry, which bases its analysis upon classic formulations, such as the Oedipus and Orestes complexes, for instance, which were enacted by royal beings, but which apply to everyone in similar emotional situations.

More simply, when the question of tragedy in art in not at issue, we never hesitate to attribute to the well-placed and the exalted the very same mental processes as the lowly. And finally, if the exaltation of tragic action were truly a property of the high-bred character alone, it is inconceivable that the mass Of mankind should cherish tragedy above all other forms, let alone be capable of understanding it.

As a general rule, to which there may be exceptions unknown to me, I think the tragic feeling is evoked in us when we are in the presence of a character who is ready to lay down his life, if need be, to secure one thing--his sense of personal dignity. From Orestes to Hamlet, Medea to Macbeth, the underlying struggles that of the individual attempting to gain his "rightful" position in his society [17, 187].

Sometimes he is one who has been displaced from it, sometimes one who seeks to attain it for the first time, but the fateful wound from which the inevitable events spiral is the wound of indignity, and its dominant force is indignation. Tragedy, then, is the consequence of a man's total compulsion to evaluate himself justly.

In the sense of having been initiated by the hero himself, the tale always reveals what has been called his tragic flaw," a failing that is not peculiar to grand or elevated characters. Nor is it necessarily a weakness. The flaw, or crack in the character, is really nothing and need be nothing, but his inherent unwillingness to remain passive in the face of what he conceives to be a challenge to his dignity, his image of his rightful status. Only the passive, only those who accept their lot without active retaliation, are "flawless." Most of us are in that category. But there are among us today, as there always have been, those who act against the scheme of things that degrades them, and in the process of action everything we have accepted out of fear or insensitivity or ignorance is shaken before us and examined, and from this total onslaught by an individual against the seemingly stable cosmos surrounding us from this total examination of the "unchangeable" environmentcomes the terror and the fear that is classically associated with tragedy.

More important, from this total questioning of what has previously been unquestioned, we learn [19, 165]. And such a process is not beyond the common man. In revolutions around the world, these past thirty years, he has demonstrated again and again this inner dynamic of all tragedy.

Insistence upon the rank of the tragic hero, or the so-called nobility of his character, is really but a clinging to the outward forms of tragedy. If rank or nobility of character was indispensable, then it would follow that the problems of those with rank were the particular problems of tragedy. But surely the right of one monarch to capture the domain from another no longer raises our passions, nor are our concepts of justice what they were to the mind of an Elizabethan king.

The quality in such plays that does shake us, however, derives from the underlying fear of being displaced, the disaster inherent in being torn away from our chosen image of what or who we are in this world. Among us today this fear is as strong, and perhaps stronger, than it ever was. In fact, it is the common man who knows this fear best.

Now, if it is true that tragedy is the consequence of a man's total compulsion to evaluate himself justly, his destruction in the attempt posits a wrong or an evil in his environment. And this is precisely the morality of tragedy and its lesson. The discovery of the moral law, which is what the enlightenment of tragedy consists of, is not the discovery of some abstract or metaphysical quantity.

The tragic night is a condition of life, a condition in which the human personality is able to flower and realize itself. The wrong is the condition which suppresses man, perverts the flowing out of his love and creative instinct. Tragedy enlightens and it must, in that it points the heroic finger at the enemy of man's freedom. The thrust for freedom is the quality in tragedy which exalts. The revolutionary questioning of the stable environment is what terrifies. In no way is the common man debarred from such thoughts or such actions.

Seen in this light, our lack of tragedy may be partially accounted for by the turn which modern literature has taken toward the purely psychiatric view of life, or the purely sociological. If all our miseries, our indignities, are born and bred within our minds, then all action, let alone the heroic action, is obviously impossible.

And if society alone is responsible for the cramping of our lives, then the protagonist must needs be so pure and faultless as to force us to deny his validity as a character [5, 83]. From neither of these views can tragedy derive, simply because neither represents a balanced concept of life. Above all else, tragedy requires the finest appreciation by the writer of cause and effect.

No tragedy can therefore come about when its author fears to question absolutely everything, when he regards any institution, habit or custom as being either everlasting, immutable or inevitable. In the tragic view the need of man to wholly realize himself is the only fixed star, and whatever it is that hedges his nature and lowers it is ripe for attack and examination. Which is not to say that tragedy must preach revolution.

The Greeks could probe the very heavenly origin of their ways and return to confirm the rightness of laws. And Job could face God in anger, demanding his right and end in submission. But for a moment everything is in suspension, nothing is accepted, and in this stretching and tearing apart of the cosmos, in the very action of so doing, the character gains "size," the tragic stature which is spuriously attached to the royal or the high born in our minds. The commonest of men may take on that stature to the extent of his willingness to throw all he has into the contest, the battle to secure his rightful place in his world.

There is a misconception of tragedy with which I have been struck in review after review, and in many conversations with writers and readers alike. It is the idea that tragedy is of necessity allied to pessimism. Even the dictionary says nothing more about the word than that it means a story with a sad or unhappy ending. This impression is so firmly fixed that I almost hesitate to claim that in truth tragedy implies more optimism in its author than does comedy, and that its final result ought to be the reinforcement of the onlooker's brightest opinions of the human animal.

For, if it is true to say that in essence the tragic hero is intent upon claiming his whole due as a personality, and if this struggle must be total and without reservation, then it automatically demonstrates the indestructible will of man to achieve his humanity. The possibility of victory must be there in tragedy. Where pathos rules, where pathos is finally derived, a character has fought a battle he could not possibly have won. The pathetic is achieved when the protagonist is, by virtue of his witlessness, his insensitivity or the very air he gives off, incapable of grappling with a much superior force. Pathos truly is the mode for the pessimist. But tragedy requires a nicer balance between what is possible and what is impossible. And it is curious, although edifying, that the plays we revere, century after century, are the tragedies. In them, and in them alone, lies the belief--optimistic, if you will, in the perfectibility of man. It is time, I think, that we who are without kings, took up this bright thread of our history and followed it to the only place it can possible lead in our time--the heart and spirit of the average man.

CONCLUSION

Miller’s style is very simple. He uses simple sentences and words which are easy to understand. He brings out the evil quality of Abigail and the other girls and also the gullibility of the judges. His style is easy to understand and should be in order to be successful as a play. While using the simple style, Miller doesn’t take anything away from the suspense in the plot. The dialogues of his character are like actual speech. His words are used effectively and doesn’t include anything not necessary for making a good play. Many clever figurative devices are used. For example, Abigail says that John “sweated like a stallion.” The writing is really that memorable since it was not really written as prose or poetry. However, certain images as the one previously mentioned are hard to forget.

The theme of the story was rising over adversity, and standing for the truth even to death. This is the theme for many stories and is always an exciting one. John, in the beginning, wanted to keep distant from the trials. He did not want to have a part, whether good or bad. When Elizabeth was arrested, he was forced to become part of it [3, 145]. He went to court first to set his wife free but after watching the proceedings, he saw that the evil was not only being done to his own wife but many others like his wife. As a result, he worked even harder to free the other innocent people, getting himself arrested.

The themes in All My Sons are mainly derived from the concept of morals, the laws that man follows through our conscience. One of the themes that branches out from this is morality, the principles about human life. This theme is evident when related to the Keller family, where a conflict between morality and the loss of it takes place. Joe Keller, the father of the Keller family, was responsible for sending out faulty cylinder heads during World War 2, which resulted in the deaths of 21 fighter pilots.

The Sun Also Rises (Later Fiesta) is the first major novel by Ernest Heminqway. The novel explores the lives and values of the so-called "Lost Generation," chronicling the experiences of Jake Barnes and several acquaintances on their pilgrimage to Pamplona for the annual fiesta and bull fights. After serving in World War I, Jake is unable to consummate a sexual relationship with Brett Ashley because of either psychological or physical damage that leaves him impotent. However, he is still attracted to and in love with her. The story follows Jake and his various companions across France and Spain. Initially, Jake seeks peace away from Brett by taking a fishing trip to Burguete, deep within the Spanish hills, with companion Bill Gorton, another veteran of the war. The fiesta in Pamplona is the setting for the eventual meeting of all the characters, who play out their various desires and anxieties, alongside a great deal of drinking.

GENERAL CONCLUSION

On the basis of above-stated we came to a conclusion, that the story reminds its readers of an ugly blemish on human history. It reminds us that man is not perfect, and that we can make mistakes. However, even with these mistakes, we can cleanse ourselves and purify ourselves by making what is wrong right. The sufferings become to the sufferer like a crucible.

Miller's plays often depict how families are destroyed by false values. Especially his earliest efforts show his admiration for the classical Greek dramatists. "When I began to write," he said in an interview, "one assumed inevitably that one was in the mainstream that began with Aeschylus and went through about twenty-five hundred years of playwriting." (from The Cambridge Companion to Arthur Miller, ed. by Christopher Bigsby, 1997)

Great tragedies have always focused on the tragic hero, like Hamlet in “Hamlet”, Macbeth in “Macbeth” and Oedipus in “Oedipus Rex”. These plays show that focusing the story on the tragic hero is not a bad idea, giving good reason why Arthur Miller did this in All My Sons. Miller’s purpose was to bring the beauty of tragedy to modern literature, proving it wasn’t only meant for the upper classes of aristocracy. He succeeded, making a modern tragedy partially based on the form of past Shakespearean masterpieces, leaving the death of the tragic hero towards the end of the play for example. The conflicts between the Keller family and between all the characters brought up tragic themes. These themes, in conjunction with the plot, made a tragic hero out of Joe Keller, or in Miller’s case, a tragic man. This tragic man fits the play perfectly with the themes associated with him. All My Sons can be considered a modern tragedy because of the creation of the tragic man and how his actions created several tragic themes. These actions resulted in his death, which occurs to most tragic men and heroes in great tragedies

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[1] The Sun Also Rises (Later Fiesta).

[2] Ecclesiastes 1:4.

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